1 It is not unusual to come across works written by philosophers that are half way between the essay and the novel. Some even talk of a kind of dilution of philosophy into literature, from a clearly metaphysical perspective, therefore a philosophical one. After the seminal case of Friedrich Nietzsche, the relationship between philosophy and literature in the 20th century has intensified. Evidence for this state of affairs are the many excellent philosophers who are also novelists – some of th...
{"title":"Second Variation. Philosophy and Literature: a Hypothetical Comparison between different Approaches","authors":"Micaela Latini","doi":"10.4000/ESTETICA.5005","DOIUrl":"https://doi.org/10.4000/ESTETICA.5005","url":null,"abstract":"1 It is not unusual to come across works written by philosophers that are half way between the essay and the novel. Some even talk of a kind of dilution of philosophy into literature, from a clearly metaphysical perspective, therefore a philosophical one. After the seminal case of Friedrich Nietzsche, the relationship between philosophy and literature in the 20th century has intensified. Evidence for this state of affairs are the many excellent philosophers who are also novelists – some of th...","PeriodicalId":53954,"journal":{"name":"Rivista di Estetica","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2019-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49413063","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"哲学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Contemporary debates within analytic philosophy regarding the relation between literature and philosophy focus on the capacity of some literary works to engage with philosophical problems. While some philosophers see literature as a welcome contribution to philosophy, or as an alternative to pursuing philosophical questions, some are more sceptical with respect to its capacity to tackle philosophical concerns. As a contribution to this debate, in this paper I look at similarities and dissimilarities between the two practices, with the aim of mitigating some views which see them as too diverse to allow for literary treatment of philosophical issues. As points of contact, I focus on the shared thematic concerns of the two practices, i.e. on the fact that literature and philosophy both deal with issues that humans generally care for. I argue that both practices, despite the stylistic, linguistic and methodological differences in their approach, manage to fulfil ‘the recognition requirement’, namely, recognize and engage with those issues, situations and context of human predicament in the world which are in need of intellectual refinement. I then move on to dismiss arguments which purport to discredit literary treatments of philosophy on the basis of literature’s alleged subjectivity and emotional dimension, which are contrasted with philosophical objectivity and rationality. I end by emphasizing the impact of academic constraints on professional philosophy, in order to suggest that pursuing philosophical concerns is not an invention of the practice, but a natural inclination of reflective, inquisitive human mind.
{"title":"Rethinking the philosophy – literature distinction","authors":"I. Vidmar","doi":"10.4000/estetica.5237","DOIUrl":"https://doi.org/10.4000/estetica.5237","url":null,"abstract":"Contemporary debates within analytic philosophy regarding the relation between literature and philosophy focus on the capacity of some literary works to engage with philosophical problems. While some philosophers see literature as a welcome contribution to philosophy, or as an alternative to pursuing philosophical questions, some are more sceptical with respect to its capacity to tackle philosophical concerns. As a contribution to this debate, in this paper I look at similarities and dissimilarities between the two practices, with the aim of mitigating some views which see them as too diverse to allow for literary treatment of philosophical issues. As points of contact, I focus on the shared thematic concerns of the two practices, i.e. on the fact that literature and philosophy both deal with issues that humans generally care for. I argue that both practices, despite the stylistic, linguistic and methodological differences in their approach, manage to fulfil ‘the recognition requirement’, namely, recognize and engage with those issues, situations and context of human predicament in the world which are in need of intellectual refinement. I then move on to dismiss arguments which purport to discredit literary treatments of philosophy on the basis of literature’s alleged subjectivity and emotional dimension, which are contrasted with philosophical objectivity and rationality. I end by emphasizing the impact of academic constraints on professional philosophy, in order to suggest that pursuing philosophical concerns is not an invention of the practice, but a natural inclination of reflective, inquisitive human mind.","PeriodicalId":53954,"journal":{"name":"Rivista di Estetica","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2019-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48339873","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"哲学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In the present article, I will address the question of whether Paul Valery’s thought can somehow contribute to the recent debate concerning the philosophy of literature. Firstly, I will focus on the idea according to which philosophy can be meant not only as a literary genre but also as an art of thinking. This allows Valery to state that the poet, too, has a philosophy insofar as he or she is able to think abstractly by practicing his or her own mind. Secondly, following some remarks of Derrida and Rorty, I will discuss Valery’s idea according to which the philosopher is a philosopher to the extent that he or she forgets that philosophy has to be written. This will lead me to distinguish the peculiar aesthetics of the philosopher as writer from that of the poet.
{"title":"Valéry e la filosofia della letteratura","authors":"D. Manca","doi":"10.4000/estetica.5191","DOIUrl":"https://doi.org/10.4000/estetica.5191","url":null,"abstract":"In the present article, I will address the question of whether Paul Valery’s thought can somehow contribute to the recent debate concerning the philosophy of literature. Firstly, I will focus on the idea according to which philosophy can be meant not only as a literary genre but also as an art of thinking. This allows Valery to state that the poet, too, has a philosophy insofar as he or she is able to think abstractly by practicing his or her own mind. Secondly, following some remarks of Derrida and Rorty, I will discuss Valery’s idea according to which the philosopher is a philosopher to the extent that he or she forgets that philosophy has to be written. This will lead me to distinguish the peculiar aesthetics of the philosopher as writer from that of the poet.","PeriodicalId":53954,"journal":{"name":"Rivista di Estetica","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2019-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47201386","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"哲学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Nella prefazione del suo libro L’evoluzione della cultura (2004), il genetista italiano Luigi Luca Cavalli-Sforza scriveva: «L’evoluzione della cultura e un argomento che ha stranamente ricevuto pochissima attenzione […] Spero che quest’operetta aiuti a suscitare l’interesse che l’argomento merita e che dia vita completamente nuova a una scienza che in America sta morendo e in Europa non ha mai fatto molta strada, l’antropologia culturale, e convinca della necessita di un approccio multidisci...
{"title":"Lorenzo Bravalle, Evoluzione e cultura","authors":"Elena Casetta","doi":"10.4000/estetica.5287","DOIUrl":"https://doi.org/10.4000/estetica.5287","url":null,"abstract":"Nella prefazione del suo libro L’evoluzione della cultura (2004), il genetista italiano Luigi Luca Cavalli-Sforza scriveva: «L’evoluzione della cultura e un argomento che ha stranamente ricevuto pochissima attenzione […] Spero che quest’operetta aiuti a suscitare l’interesse che l’argomento merita e che dia vita completamente nuova a una scienza che in America sta morendo e in Europa non ha mai fatto molta strada, l’antropologia culturale, e convinca della necessita di un approccio multidisci...","PeriodicalId":53954,"journal":{"name":"Rivista di Estetica","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2019-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47455369","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"哲学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In ambito accademico anglo-americano, ma non solo, Richard Joyce e ormai noto per i suoi lavori su metaetica, etica evoluzionistica e psicologia morale. Le due pubblicazioni che hanno consacrato Joyce come figura emergente di questi ambiti di ricerca sono The Myth of Morality (Cambridge University Press, 2001) e The Evolution of Morality (Mit Press, 2006). Se nel primo libro Joyce difende la teoria dell’errore e il finzionalismo morale, nel secondo egli fornisce una genealogia della morale su...
{"title":"Richard Joyce, Essays in Moral Skepticism","authors":"Paolo Stellino","doi":"10.4000/estetica.5297","DOIUrl":"https://doi.org/10.4000/estetica.5297","url":null,"abstract":"In ambito accademico anglo-americano, ma non solo, Richard Joyce e ormai noto per i suoi lavori su metaetica, etica evoluzionistica e psicologia morale. Le due pubblicazioni che hanno consacrato Joyce come figura emergente di questi ambiti di ricerca sono The Myth of Morality (Cambridge University Press, 2001) e The Evolution of Morality (Mit Press, 2006). Se nel primo libro Joyce difende la teoria dell’errore e il finzionalismo morale, nel secondo egli fornisce una genealogia della morale su...","PeriodicalId":53954,"journal":{"name":"Rivista di Estetica","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2019-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42830298","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"哲学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The paper aims at highlighting what the author considers to be the most significant philosophical articulations of Shakespeare’s Hamlet , whose power of attraction is largely conditioned by his own obscure nature. Starting from the reading of some famous interpreters such as Bonnefoy, Cavell, Girard, Schmitt and Vygotsky, through the themes of revenge, silence, and the collapse of values, it is emphasized how, in the drama, the acceptance of death becomes a sign of the indifference of the world and therefore of the insufficiency of meaning. In particular Hamlet’s statement “I don’t know it seems”, is explained by the fact that his world is completely different from that of others. This expression should be seen, then, as a kind of preliminary description of his general way of perceiving things. Starting from the famous scene of “theatre in theatre”, and in a constant confrontation with Adorno’s aesthetics, the article aims at pointing out the different ideas of theatre that face each other in the drama. The idea of theatre supported by Hamlet, however, based on the size of the logos, is not at all the one adopted by Shakespeare, since his style is based on the immoderation, the excess and the irruption of the pathos. Hamlet is not even the place for that extreme act of faith that emerges at the end of King Lear: here hopes are shattered over a world totally abandoned to nonsense. For this reason, the only possibility of redemption is offered by “being ready” rather than by “being mature” as professed by Edgar.
{"title":"Amleto, ovvero le speranze infrante sul non-senso del mondo","authors":"G. D. Giacomo","doi":"10.4000/estetica.5102","DOIUrl":"https://doi.org/10.4000/estetica.5102","url":null,"abstract":"The paper aims at highlighting what the author considers to be the most significant philosophical articulations of Shakespeare’s Hamlet , whose power of attraction is largely conditioned by his own obscure nature. Starting from the reading of some famous interpreters such as Bonnefoy, Cavell, Girard, Schmitt and Vygotsky, through the themes of revenge, silence, and the collapse of values, it is emphasized how, in the drama, the acceptance of death becomes a sign of the indifference of the world and therefore of the insufficiency of meaning. In particular Hamlet’s statement “I don’t know it seems”, is explained by the fact that his world is completely different from that of others. This expression should be seen, then, as a kind of preliminary description of his general way of perceiving things. Starting from the famous scene of “theatre in theatre”, and in a constant confrontation with Adorno’s aesthetics, the article aims at pointing out the different ideas of theatre that face each other in the drama. The idea of theatre supported by Hamlet, however, based on the size of the logos, is not at all the one adopted by Shakespeare, since his style is based on the immoderation, the excess and the irruption of the pathos. Hamlet is not even the place for that extreme act of faith that emerges at the end of King Lear: here hopes are shattered over a world totally abandoned to nonsense. For this reason, the only possibility of redemption is offered by “being ready” rather than by “being mature” as professed by Edgar.","PeriodicalId":53954,"journal":{"name":"Rivista di Estetica","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2019-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46370730","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"哲学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
1 What is literature? One could naively answer: any kind of written work could be considered literature, just think about its Latin origin, “littera” (letter). Nonetheless nowadays we tend to adopt a more restrictive use of the term literature as referring to those written accounts somehow showing literary, aesthetic merit. According to this more restrictive use, we say that Crime and Punishment written by Fedor Dostoevskij and In Search of Lost Time by Marcel Proust are good examples of lite...
{"title":"First Variation. Philosophy and Literature: a Hypothetical Comparison between different Approaches","authors":"C. Barbero","doi":"10.4000/ESTETICA.5016","DOIUrl":"https://doi.org/10.4000/ESTETICA.5016","url":null,"abstract":"1 What is literature? One could naively answer: any kind of written work could be considered literature, just think about its Latin origin, “littera” (letter). Nonetheless nowadays we tend to adopt a more restrictive use of the term literature as referring to those written accounts somehow showing literary, aesthetic merit. According to this more restrictive use, we say that Crime and Punishment written by Fedor Dostoevskij and In Search of Lost Time by Marcel Proust are good examples of lite...","PeriodicalId":53954,"journal":{"name":"Rivista di Estetica","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2019-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41555893","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"哲学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Literature plays a relevant role in Hegel’s philosophical discourse. On the one hand, literary references are often interwoven with his speculative argumentation, on the other hand, the Aesthetics regards poetry as the highest form of artistic expression, for it is able to represent the different ways of human action and to bring up their hidden ideal presuppositions. The aim of this paper is to show how the concept of action is crucial to the interpretation of literary phenomena in the Aesthetics, but assumes different configurations in relation to the historical transformation of the concept of subjectivity. To verify the specifically aesthetic import of concepts such as action and recognition, which originally belong to the ethical-political sphere, I will examine Hegel’s interpretation of the chivalric literature, which is present in various areas and with different functions in the structure of the Aesthetics, as a component of his theory of subjectivity. This topic has been little studied but offers an interesting perspective on some problematic points of Hegel’s theory: the controversial relation between the structural dimension of the concept of art and historical development of artistic forms, the apparently univocal paradigm of classic beauty, and the definition of artistic modernity.
{"title":"Literature and action. On Hegel’s interpretation of chivalry","authors":"G. Pinna","doi":"10.4000/ESTETICA.5216","DOIUrl":"https://doi.org/10.4000/ESTETICA.5216","url":null,"abstract":"Literature plays a relevant role in Hegel’s philosophical discourse. On the one hand, literary references are often interwoven with his speculative argumentation, on the other hand, the Aesthetics regards poetry as the highest form of artistic expression, for it is able to represent the different ways of human action and to bring up their hidden ideal presuppositions. The aim of this paper is to show how the concept of action is crucial to the interpretation of literary phenomena in the Aesthetics, but assumes different configurations in relation to the historical transformation of the concept of subjectivity. To verify the specifically aesthetic import of concepts such as action and recognition, which originally belong to the ethical-political sphere, I will examine Hegel’s interpretation of the chivalric literature, which is present in various areas and with different functions in the structure of the Aesthetics, as a component of his theory of subjectivity. This topic has been little studied but offers an interesting perspective on some problematic points of Hegel’s theory: the controversial relation between the structural dimension of the concept of art and historical development of artistic forms, the apparently univocal paradigm of classic beauty, and the definition of artistic modernity.","PeriodicalId":53954,"journal":{"name":"Rivista di Estetica","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2019-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41806973","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"哲学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The article aims at remembering Mario Perniola, died last year, philosopher and author of a large number of books translated all over the world, devoted especially to the field of aesthetics, whose research could be intended as an open reflection dealing with not only the traditional topics of the discipline, but with the broad and differentiated phenomena involving the sphere of perception and feeling, operating in the world of communication and media, in society, politics, religion, and arts. The distinctive feature of his thought is here identified in his extraordinary ability to put in contact different and distant authors, concepts and things and at the same time to separate them, giving rise to the development of subtle, smart and penetrating concepts capable of reading our time. Thus his research is here defined as a “philosophy of between”, which strives to think of the intermediate state that separates but also that space connecting; a philosophy that rejects any apocalyptic position but at the same time avoids surrendering to the society of spectacle and communication in which we live.
{"title":"Una filosofia dell’intermedio. Ricordo di Mario Perniola","authors":"G. Patella","doi":"10.4000/estetica.5257","DOIUrl":"https://doi.org/10.4000/estetica.5257","url":null,"abstract":"The article aims at remembering Mario Perniola, died last year, philosopher and author of a large number of books translated all over the world, devoted especially to the field of aesthetics, whose research could be intended as an open reflection dealing with not only the traditional topics of the discipline, but with the broad and differentiated phenomena involving the sphere of perception and feeling, operating in the world of communication and media, in society, politics, religion, and arts. The distinctive feature of his thought is here identified in his extraordinary ability to put in contact different and distant authors, concepts and things and at the same time to separate them, giving rise to the development of subtle, smart and penetrating concepts capable of reading our time. Thus his research is here defined as a “philosophy of between”, which strives to think of the intermediate state that separates but also that space connecting; a philosophy that rejects any apocalyptic position but at the same time avoids surrendering to the society of spectacle and communication in which we live.","PeriodicalId":53954,"journal":{"name":"Rivista di Estetica","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2019-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44435575","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"哲学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Marcel Proust’s In Search of Lost Time, raises an interesting philosophical issue, namely, how can one be in touch with past things if they no longer exist? It provides us with a way to address this issue by outlining an ontological view according to which past things still exist within a four-dimensional world. Although one cannot be in touch with past things by means of ordinary perception, one can do so by combining perception and memory. In this sense, In Search of Lost Time helps us to reconcile a four-dimensionalist ontology according to which things have both spatial and temporal parts with a realist phenomenology according to which experience gives us access to things as they are. In so doing, Proust’s masterpiece allows us to shed some light on what it means for a subject of experience to exist in a four-dimensional world.
{"title":"Like giants immersed in time. Ontology, phenomenology, and Marcel Proust","authors":"M. Ferraris, E. Terrone","doi":"10.4000/estetica.5146","DOIUrl":"https://doi.org/10.4000/estetica.5146","url":null,"abstract":"Marcel Proust’s In Search of Lost Time, raises an interesting philosophical issue, namely, how can one be in touch with past things if they no longer exist? It provides us with a way to address this issue by outlining an ontological view according to which past things still exist within a four-dimensional world. Although one cannot be in touch with past things by means of ordinary perception, one can do so by combining perception and memory. In this sense, In Search of Lost Time helps us to reconcile a four-dimensionalist ontology according to which things have both spatial and temporal parts with a realist phenomenology according to which experience gives us access to things as they are. In so doing, Proust’s masterpiece allows us to shed some light on what it means for a subject of experience to exist in a four-dimensional world.","PeriodicalId":53954,"journal":{"name":"Rivista di Estetica","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2019-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43027989","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"哲学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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